By David Myers
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Extra resources for Play Redux: The Form of Computer Games (Digital Culture Books)
Example text
This feeling can be referenced objectively, though indirectly, within the sign and symbol system that evokes it. • While formally and functionally distinct, poetic language and literature are part of the same sign and symbol system as conventional language. Literature uses the sign and symbol system of conventional language in unconventional ways—for example, in the form of trope or verse. Therefore, the literary function of language is not unique but derivative of the common function of language.
During “play” with simulations, the more practiced and expert player displays both more skill and, in demonstration of that skill, more rules-abiding behavior; the more practiced and expert player of computer games, on the other hand, also displays more skill, but, in demonstration of that skill, is increasingly likely to be rules intolerant. Thus, the use of simulations, in opposition to the play of games, does not display the same continuously recurring forms of recursive contextualization, either in original design or during prolonged play.
Of all those characteristics distinguishing the aesthetic experience of digital media—and, particularly, the experience of computer game play— the repetitiveness of that experience is most obvious. In other, older and (more conventionally) less-interactive media, aesthetic pleasures appear more quickly and more directly. For instance, the enjoyment of the visual, aural, and kinesthetic arts5 is as much in the moment of sensation as in either delayed reflection or persistent repetition. , first-person shooters, perhaps)—which employ visual signs 34 pl ay redux appealing directly to the senses and thus invoking a mechanical and, often, involuntary response.